Sound of Failure : Experimental Electronic Music in Our Post-Digital
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Ut Contemporary Music Festival
UT CONTEMPORARY MUSIC FESTIVAL UT CONTEMPORARY MUSIC FESTIVAL WEDNESDAY, MARCH 4 MORNING PRESENTATIONS 9 a.m. HMC 244 Aaron Hunt - 9:05 - 9:25 a.m. "Rhythmic Hypnosis: A Theory of Rhythm and Meter in the Music of Tool" Fabio Fabbri - 9:30 - 10:05 a.m. "Techniques and Terminology for the Analysis of Electroacoustic Music and More" Ian Evans Guthrie - 10:10 - 10:30 a.m. “Rhythm as a Function" Robert Strobel - 10:35 a.m. - 11 a.m. "The Dangers of Excessive Conceptuality in Theory and Composition" EMILY KOH AND TRAVIS ALFORD PRESENTATIONS 2 - 4 p.m. HMC 110 CONCERT ONE 6 - 7:30 p.m. Sandra G. Powell Recital Hall The Outside Mark Engebretson Mark Engebretson, alto saxophone postcards Chin Ting Chan Yu-Fang Chen, violin Finding the Right Words Aaron Hunt Vicki Leona, percussion UT CONTEMPORARY MUSIC FESTIVAL Lemoncholy Gabriel Brady Gabriel Brady, piano LIGO Alissa Voth Bethany Padgett, flute Kae So Wae Train Vicki Leona Turner McCabbe and Vicki Leona, percussion Cullen Burke, Aaron Hunt, and Claire Terrell, perspectives (voice) one final gyre Alex Burtzos Allison Adams and Corey Martin, saxophone THURSDAY, MARCH 5 CONCERT TWO 11 a.m. - 12:30 p.m. Sandra G. Powell Recital Hall A Farewell Elegy Ian Evans Guthrie Ian Evans Guthrie, piano Breathe Slow, Breathe Deep Ed Martin Jeri-Mae G. Astolfi, piano Ctrl C Adam Stanovic fixed media Isaac's World Filipe Leitao fixed media Missing Memories John Baxter John Baxter, piano UT CONTEMPORARY MUSIC FESTIVAL London 2012 Hunter Prueger Hunter Prueger , alto saxophone Confab Andrew Hannon Joseph Brown, trombone RITA D'ARCANGELO FLUTE MASTERCLASS 12:40 - 1:55 p.m. -
Automatic Detection of Perceived Ringing Regions in Compressed Images
International Journal of Electronics and Communication Engineering. ISSN 0974-2166 Volume 4, Number 5 (2011), pp. 491-516 © International Research Publication House http://www.irphouse.com Automatic Detection of Perceived Ringing Regions in Compressed Images D. Minola Davids Research Scholar, Singhania University, Rajasthan, India Abstract An efficient approach toward a no-reference ringing metric intrinsically exists of two steps: first detecting regions in an image where ringing might occur, and second quantifying the ringing annoyance in these regions. This paper presents a novel approach toward the first step: the automatic detection of regions visually impaired by ringing artifacts in compressed images. It is a no- reference approach, taking into account the specific physical structure of ringing artifacts combined with properties of the human visual system (HVS). To maintain low complexity for real-time applications, the proposed approach adopts a perceptually relevant edge detector to capture regions in the image susceptible to ringing, and a simple yet efficient model of visual masking to determine ringing visibility. Index Terms: Luminance masking, per-ceptual edge, ringing artifact, texture masking. Introduction In current visual communication systems, the most essential task is to fit a large amount of visual information into the narrow bandwidth of transmission channels or into a limited storage space, while maintaining the best possible perceived quality for the viewer. A variety of compression algorithms, for example, such as JPEG[1] and MPEG/H.26xhave been widely adopted in image and video coding trying to achieve high compression efficiency at high quality. These lossy compression techniques, however, inevitably result in various coding artifacts, which by now are known and classified as blockiness, ringing, blur, etc. -
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy
Chiptuning Intellectual Property: Digital Culture Between Creative Commons and Moral Economy Martin J. Zeilinger York University, Canada [email protected] Abstract This essay considers how chipmusic, a fairly recent form of alternative electronic music, deals with the impact of contemporary intellectual property regimes on creative practices. I survey chipmusicians’ reusing of technology and content invoking the era of 8-bit video games, and highlight points of contention between critical perspectives embodied in this art form and intellectual property policy. Exploring current chipmusic dissemination strategies, I contrast the art form’s links to appropriation-based creative techniques and the ‘demoscene’ amateur hacking culture of the 1980s with the chiptune community’s currently prevailing reliance on Creative Commons licenses for regulating access. Questioning whether consideration of this alternative licensing scheme can adequately describe shared cultural norms and values that motivate chiptune practices, I conclude by offering the concept of a moral economy of appropriation-based creative techniques as a new framework for understanding digital creative practices that resist conventional intellectual property policy both in form and in content. Keywords: Chipmusic, Creative Commons, Moral Economy, Intellectual Property, Demoscene Introduction The chipmusic community, like many other born-digital creative communities, has a rich tradition of embracing and encouraged open access, collaboration, and sharing. It does not like to operate according to the logic of informational capital and the restrictive enclosure movements this logic engenders. The creation of chipmusic, a form of electronic music based on the repurposing of outdated sound chip technology found in video gaming devices and old home computers, centrally involves the reworking of proprietary cultural materials. -
City Research Online
City Research Online City, University of London Institutional Repository Citation: Pace, I. (2017). Michael Finnissy - The Piano Music (10 and 11) - Brochure from Conference 'Bright Futures, Dark Pasts'. This is the other version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/17523/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] BRIGHT FUTURES, DARK PASTS Michael Finnissy at 70 Conference at City, University of London January 19th-20th 2017 Bright Futures, Dark Pasts Michael Finnissy at 70 After over twenty-five years sustained engagement with the music of Michael Finnissy, it is my great pleasure finally to be able to convene a conference on his work. This event should help to stimulate active dialogue between composers, performers and musicologists with an interest in Finnissy’s work, all from distinct perspectives. It is almost twenty years since the publication of Uncommon Ground: The Music of Michael Finnissy (Aldershot: Ashgate, 1998). -
A Method for the Transcription and Analysis of Electroacoustic Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Emerging Musical Structures: A method for the transcription and analysis of Electroacoustic Music Mario Mazzoli Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/71 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EMERGING MUSICAL STRUCTURES: A METHOD FOR THE TRANSCRIPTION AND ANALYSIS OF ELECTROACOUSTIC MUSIC. by MARIO MAZZOLI A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 ii © 2014 MARIO MAZZOLI All Rights Reserved iii This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ________________ _________________________ Date Professor Jeff Nichols Chair of Examining Committee ________________ _________________________ Date Professor Norman Carey Executive Officer Distinguished Professor Joseph N. Straus Professor Mark Anson-Cartwright Professor David Olan Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iv Abstract EMERGING MUSICAL STRUCTURES: A METHOD FOR THE TRANSCRIPTION AND ANALYSIS OF ELECTROACOUSTIC MUSIC. by MARIO MAZZOLI Advisor: Distinguished Professor Joseph N. Straus This dissertation proposes a method for transcribing “electroacoustic” music, and subsequently a number of methods for its analysis, utilizing the transcription as main ground for investigation. -
Theory, Experience and Affect in Contemporary Electronic Music Trans
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Strachan, Robert Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Trans. Revista Transcultural de Música, núm. 14, 2010, pp. 1-10 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82220947010 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative TRANS - Revista Transcultural de Música - Transcultural Music Revie... http://www.sibetrans.com/trans/a14/uncanny-space-theory-experience-... Home PRESENTACIÓN EQUIPO EDITORIAL INFORMACIÓN PARA LOS AUTORES CÓMO CITAR TRANS INDEXACIÓN CONTACTO Última publicación Números publicados < Volver TRANS 14 (2010) Convocatoria para artículos: Uncanny Space: Theory, Experience and Affect in Contemporary Electronic Music Explorar TRANS: Por Número > Robert Strachan Por Artículo > Por Autor > Abstract This article draws upon the author’s experiences of promoting an music event featuring three prominent European electronic musicians (Alva Noto, Vladislav Delay and Donnacha Costello) to examine the tensions between the theorisation of electronic music and the way it is experienced. Combining empirical analysis of the event itself and frequency analysis of the music used within it, the article works towards a theoretical framework that seeks to account for the social and physical contexts of listening. It suggests that affect engendered by the physical intersection of sound with the body provides a key way of understanding Share | experience, creativity and culture within contemporary electronic music. -
The Effects of Background Music on Video Game Play Performance, Behavior and Experience in Extraverts and Introverts
THE EFFECTS OF BACKGROUND MUSIC ON VIDEO GAME PLAY PERFORMANCE, BEHAVIOR AND EXPERIENCE IN EXTRAVERTS AND INTROVERTS A Thesis Presented to The Academic Faculty By Laura Levy In Partial Fulfillment Of the Requirements for the Degree Master of Science in Psychology in the School of Psychology Georgia Institute of Technology December 2015 Copyright © Laura Levy 2015 THE EFFECTS OF BACKGROUND MUSIC ON VIDEO GAME PLAY PERFORMANCE, BEHAVIOR, AND EXPERIENCE IN EXTRAVERTS AND INTROVERTS Approved by: Dr. Richard Catrambone Advisor School of Psychology Georgia Institute of Technology Dr. Bruce Walker School of Psychology Georgia Institute of Technology Dr. Maribeth Coleman Institute for People and Technology Georgia Institute of Technology Date Approved: 17 July 2015 ACKNOWLEDGEMENTS I wish to thank the researchers and students that made Food for Thought possible as the wonderful research tool it is today. Special thanks to Rob Solomon, whose efforts to make the game function specifically for this project made it a success. Additionally, many thanks to Rob Skipworth, whose audio engineering expertise made the soundtrack of this study sound beautifully. I express appreciation to the Interactive Media Technology Center (IMTC) for the support of this research, and to my committee for their guidance in making it possible. Finally, I wish to express gratitude to my family for their constant support and quiet bemusement for my seemingly never-ending tenure in graduate school. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iii LIST OF TABLES vii LIST OF -
Videogame Music: Chiptunes Byte Back?
Videogame Music: chiptunes byte back? Grethe Mitchell Andrew Clarke University of East London Unaffiliated Researcher and Institute of Education 78 West Kensington Court, University of East London, Docklands Campus Edith Villas, 4-6 University Way, London E16 2RD London W14 9AB [email protected] [email protected] ABSTRACT Musicians and sonic artists who use videogames as their This paper will explore the sonic subcultures of videogame medium or raw material have, however, received art and videogame-related fan art. It will look at the work of comparatively little interest. This mirrors the situation in art videogame musicians – not those producing the music for as a whole where sonic artists are similarly neglected and commercial games – but artists and hobbyists who produce the emphasis is likewise on the visual art/artists.1 music by hacking and reprogramming videogame hardware, or by sampling in-game sound effects and music for use in It was curious to us that most (if not all) of the writing their own compositions. It will discuss the motivations and about videogame art had ignored videogame music - methodologies behind some of this work. It will explore the especially given the overlap between the two communities tools that are used and the communities that have grown up of artists and the parallels between them. For example, two around these tools. It will also examine differences between of the major videogame artists – Tobias Bernstrup and Cory the videogame music community and those which exist Archangel – have both produced music in addition to their around other videogame-related practices such as modding gallery-oriented work, but this area of their activity has or machinima. -
Introduction to Computer Music Week 1
Introduction to Computer Music Week 1 Instructor: Prof. Roger B. Dannenberg Topics Discussed: Sound, Nyquist, SAL, Lisp and Control Constructs 1 Introduction Computers in all forms – desktops, laptops, mobile phones – are used to store and play music. Perhaps less obvious is the fact that music is now recorded and edited almost exclusively with computers, and computers are also used to generate sounds either by manipulating short audio clips called samples or by direct computation. In the late 1950s, engineers began to turn the theory of sampling into practice, turning sound into bits and bytes and then back into sound. These analog-to-digital converters, capable of turning one second’s worth of sound into thousands of numbers made it possible to transform the acoustic waves that we hear as sound into long sequences of numbers, which were then stored in computer memories. The numbers could then be turned back into the original sound. The ability to simply record a sound had been known for quite some time. The major advance of digital representations of sound was that now sound could be manipulated very easily, just as a chunk of data. Advantages of employing computer music and digital audio are: 1. There are no limits to the range of sounds that a computer can help explore. In principle, any sound can be represented digitally, and therefore any sound can be created. 2. Computers bring precision. The process to compute or change a sound can be repeated exactly, and small incremental changes can be specified in detail. Computers facilitate microscopic changes in sounds enabling us to producing desirable sounds. -
Teaching Post-Tonal Music to Twenty-First- Century Students Author(S): Miguel A
Department of Music Theory, Jacobs School of Music, Indiana University A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First- Century Students Author(s): Miguel A. Roig-Francolí Source: Indiana Theory Review, Vol. 33, No. 1-2 (Summer 2017), pp. 36-68 Published by: Indiana University Press on behalf of the Department of Music Theory, Jacobs School of Music, Indiana University Stable URL: https://www.jstor.org/stable/10.2979/inditheorevi.33.1-2.02 Accessed: 03-09-2018 01:27 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Indiana University Press, Department of Music Theory, Jacobs School of Music, Indiana University are collaborating with JSTOR to digitize, preserve and extend access to Indiana Theory Review This content downloaded from 129.74.250.206 on Mon, 03 Sep 2018 01:27:00 UTC All use subject to https://about.jstor.org/terms A Pedagogical and Psychological Challenge: Teaching Post-Tonal Music to Twenty-First-Century Students Miguel A. Roig-Francolí University of Cincinnati ost-tonal music has a pr problem among young musicians, and many not-so-young ones. Anyone who has recently taught a course on the theory and analysis of post-tonal music to a general Pmusic student population mostly made up of performers, be it at the undergraduate or master’s level, will probably immediately understand what the title of this article refers to. -
Glitch Studies Manifesto
[email protected]. Amsterdam/Cologne, 2009/2010 http://rosa-menkman.blogspot.com The dominant, continuing search for a noiseless channel has been, and will always be no more than a regrettable, ill-fated dogma. Even though the constant search for complete transparency brings newer, ‘better’ media, every one of these new and improved techniques will always have their own fingerprints of imperfection. While most people experience these fingerprints as negative (and sometimes even as accidents) I emphasize the positive consequences of these imperfections by showing the new opportunities they facilitate. In the beginning there was only noise. Then the artist moved from the grain of celluloid to the magnetic distortion and scanning lines of the cathode ray tube. he wandered the planes of phosphor burn-in, rubbed away dead pixels and now makes performance art based on the cracking of LCD screens. The elitist discourse of the upgrade is a dogma widely pursued by the naive victims of a persistent upgrade culture. The consumer only has to dial #1-800 to stay on top of the technological curve, the waves of both euphoria and disappointment. It has become normal that in the future the consumer will pay less for a device that can do more. The user has to realize that improving is nothing more than a proprietary protocol, a deluded consumer myth about progression towards a holy grail of perfection. Dispute the operating templates of creative practice by fighting genres and expectations! I feel stuck in the membranes of knowledge, governed by social conventions and acceptances. As an artist I strive to reposition these membranes; I do not feel locked into one medium or between contradictions like real vs. -
The Spherical Glitch Studies
The Spherical Glitch Studies Timothy Schmele Multimedia Technologies Unit Eurecat. Centre technòlogic de Catalonia Barcelona, Spain Institut für Musikwissenschaft and Musikinformation (IMWI) Hochschule für Musik Karlsruhe, Germany Contents • Spherical Glitch Study I (2016) & II (2018) • Spatial sound synthesis techniques • Spatial Synthesizer “Spatial composition” • Primary focus on external physical space • Compositions that incorporate related aspects of sound into the compositions process: direction, location, extent, envelopment, room acoustics, etc… • Varèse’s Poeme électronique • Stockhausen’s Gesang der Jünglinge • Nono’s Prometeo Spherical • Full listening sphere around the listener • Ambisonics & VBAP Glitch • Taken from “popular music” culture • Kim Cascone: post-digital, focus on failure and looking behind a technology: “The medium is no longer the message in glitch music: the tool has become the message.” • Feedback loops to amplify a system’s specific characteristics Study • Most famously used in Stockhausen’s Studie I & II • A title that suggests that the piece was done with the purpose of practice and investigation of a particular technique or approach Spherical Glitch Studies • Intended to investigate space as a compositional parameter and the technologies associated with it • Basic starting sound material: sine tone, noise,… • Sound design through spatial manipulation • Space (sensation) creation through feedback • Performative or installation pieces (drone aspects) Background • Hemispherical Glitch Study (2013) • Indirect